I may be rancid butter, but I'm on your side of the bread.

In fact, I wasn't going to dance in Xanadu, but several journalists told me that Olivia Newton-John kept saying how sad she was that she wouldn't get the chance to dance with me. So I finally said, "All right, throw in a number." But I'm through with dancing.

I'd studied dance in Chicago every summer and taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.

In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.

Kids talk to me and say they want to do musicals again because they've studied the tapes of the old films. We didn't have that. We thought once we had made it, even on film, it was gone except for the archives.

When Ginger Rogers danced with Astaire, it was the only time in the movies when you looked at the man, not the woman.

I don't even want to discuss Flashdance. I'm no critic, but that's an interesting phenomenon, that picture.